the making of - script

8/10/2019 The Making Of - Script

1/33

1. INT. ROOM DAY

MICHAEL is sitting in a chair. He is preparing for his

talking head interviews for the documentary. He fiddles

with his lapel mike.

MICHAEL

This is for the behind the

scenes, is it? What is it? For

the DVD? A making of?

Documentary? This is art right

here. You cant do a making of

art. Is there a making of the

Mona Lisa? No. Is Leo telling

us how many hours he slaved to

capture each delicate curve ofbeauty? Of course not, because

its rubbish. How hard is it

to paint a face?

2. INT. MEETING ROOM DAY

A plain boardroom. A large table in the centre, around

which are sitting Michael (the director), STEPHEN (the

producer), SARAH (the writer) and TONY (the 1stAD).

Michael is sitting, quietly reading the script in front

of him, delicately turning the pages.

He is getting more and more emotional.

There is a long silence.

Tony, who has been fidgeting, finally speaks.

TONY

So Michael, do you want to run

me through what youre

thinking about

Michael holds up a finger, silencing Tony. He is utterlyengrossed in the script.

More silence.

TONY

(slightly annoyed)

Its just I do have something

on after this

Again Michael silences him.

MICHAEL(in an emotional whisper)

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I am absorbing art.

TONY

(more annoyed)

Seriously, you set the time to

come along for a meeting andyouve spent just spent half

an hour reading the script in

total silence.

MICHAEL

(a choked whisper)

Its just so good.

TONY

You wrote the script.

MICHAEL

Its just so good.

TITLE CARD ON BLACK:

O!"T #$!T"%&' #%&'&(T')*

3. INT. MEETING DAY (CONT.)

Michael has finished the script. Tony is taking notes.

'arah looks frustrated.

MICHAEL

At its heart? At its heart

its a love story. Its a

tragic, beautiful, powerful

love. And a bitter love. Its

about the pain of love, and

the joy of love, and the

lengths well go to have our

love returned. Only throughloving another, through the

pain and joy of it all, can we

truly understand our own

existence, indeed what it even

means to exist at all.

TONY

Nice. I like it. Provocative.

MICHAEL

Yes. In space.

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'arah seethes. This is something Michael has changed from

her original script. 'he flicks through the script with

growing bitterness.

TONY

In space?

MICHAEL

With robots.

TITLE CARD ON BLACK:

A +$'A'T&% $( TH& MA$(-*

4. INT. MEETING ROOM DAY (CONT.)

Michael is now highly emotional, stroking the script.

MICHAEL

(passionately)

This is the one. This is it. I

know it. Bring me back to the

top of my game. Put aside

those critics. I can just feel

it. Cant you just feel it?

Can you feel it?

'tephen is bemused, but attempts to understand, andbegins stroking his script too. They hae a moment.

Michael stops and looks at 'tephen, who is now tenderly

caressing his script.

MICHAEL

Not literally, you understand.

Not literally feel it. I mean

the vibe of it.

'tephen stops.

STEPHEN

Right. I was going to say.

MICHAEL

Yes.

STEPHEN

Its got a nice texture. Its

just A4, isnt it? Reflex?

TONY

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5/33

that vision since his first,

really. Too much

commercialism. Thats why hes

really broken it back down to

the basics for this one.

Almost indie level. Humaninteraction, gritty realism.

(CONTD.)

STEPHEN (CONT.)

But also with lasers and a

lovely big space battle.

Contrast.

7. INT. ROOM DAY

TA0$(- H&A+ 1 'A%AH

SARAH

(clipped and bitter,

contractually obliged to be

positive)

Im Sarah Harte, and I wrote

the original treatment I

wrote the script. Its my

first one actually, thats

been taken. Obviously, film is

collaborative and the script

goes through changes. The

script has changed a little

from my original, and that can

be hard. Thats part of the

process. Its not an issue.


Tony has left, 'arah is blasting Michael for all the

changes to her script.

SARAH

What is this shit?! You didnt

write this. Why are you going

around saying you wrote this?

In there, Tony said you wrote

it. Why the hell is your name

on this? Co-writer? You didnt

write a word of this bloody

thing.

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MICHAEL

I made certain creative

changes. Listen, I turned this

script into gold. Before me

this was just some sort of

copper-nickel alloy.

SARAH

And whats this shit, now its

supposed to be set in space? I

set it on a council estate.

(CONTD.)

SARAH (CONT.)

Its an urban, gritty look at

the hardships of love in the

real world. Thats the point.

MICHAEL

And that was one of the things

I changed. (a beat) Gold.

9. INT. ROOM DAY

TA0$(- H&A+ 1 'TH&(

STEPHEN

Yes, hes credited as writer

here. A writer-director. He

may not have been involved

with the actual writing of the

script, no, but let me tell

you what he did was he saw a

script, an average script, and

he saw potential. And he

unlocked that potential by

altering seeral of its

central concepts, so yes, in

that sense, and in a legallybinding sense, yes he wrote

the script. $t/s his baby2

10. INT. HALLWAY DAY

'arah slowly walks up the hallway, away from meeting

room, her script in her hand. 'he looks completely

disillusioned.

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Michael is once again engrossed in the script. There is

the faintest flicker of self3doubt 4or reality5, but this

passes in an instant. 'tephen is standing nearby, at the

same time guilty and supportie.

12. INT. STUDIO DAY

The studio floor is empty, bar 6 cameras and some poles

and stands dotted around the walls. Michael and 'tephen

are standing in the centre of the floor.

MICHAEL

Well, you know, if this is

(CONTD.)

MICHAEL (CONT.)what we can afford, this is

what will have to do.

STEPHEN

Dont think moneys an issue.

Its a creative focus.

MICHAEL

I can make this work. All it

takes is immense talent.

13. INT. STEPHENS OFFICE DAY

Michael and 'tephen are sitting uncomfortably on one side

of 'tephen/s desk. On the other side, sitting with a big

bucket of chicken, is A7&&%, a fat, unshaen, dirty

looking ethnic man. He has a terrible grasp of the

&nglish language.

STEPHEN

Right. Michael, this is

Kazeer. Our majority investor

for the film.

MICHAEL

Hello.

He goes to shake a8eer/s hand. a8eer waes him away

with a chicken drumstick.

STEPHEN

Right. So why dont you tellus a bit about yourself, then?

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KAZEER

In home country they hunt

Kazeer like animal, like dog.

Here, Kazeer hunt the animal!

Then fry. Then sell to people.I had the one shop. This is

not enough for Kazeer. Now two

shops. Kazeers build empire!

Good business.

Michael and 'tephen look awkwardly at each other, then at

the bucket of chicken.

MICHAEL

That is chicken, isnt it?

KAZEER

Mostly.

14. INT. ROOM DAY

TA0$(- H&A+ 1 M$!HA&0

MICHAEL

(sombre)

There are setbacks with every

production. Things you wishyou could have differently.

There is no perfect day. Its

when you realise that, when

you face that fact and still

achieve the remarkable, that

is what makes you somebody.

15. INT. STUDIO DAY

Michael sits alone. He looks around trying to enisionsuccess, but not quite seeing it.


'tephen is busily checking figures on sheets of paper

strewn across his desk. He taps at a calculator. He picks

up the phone and dials it. He hooks it between his ear

and his shoulder. He sees the camera.

STEPHEN

(into phone)Ill hold.

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17. EXT. WALL DAY

'arah is smoking a cigarette. 'he is appalled by what

Michael has done to her script, but powerless to do

anything about it. 'he waes the camera away. 'he doesn/twant to talk.

18. INT. STUDIO DAY (CONT.)

Michael sits in silence.


a8eer is slowly eating his chicken.

KAZEER

No Kazeer. No more. No more

chicken for you, Kazeer. Is

too much. Too much chicken for

one man. Mmm, tasty chicken.

Well, one more, one more

He painfully takes another bite.

KAZEER

(he groans painfully)

Kazeer is sick.

20. INT. ROOM DAY

TA0$(- H&A+ 1 M$!HA&0

MICHAEL

I wrote and directed my first

feature so long ago now I

dont even remember what was

said about it back then.

(a beat) So I brought these

along. These are just the

reviews I collected at the

time.

4reading5 One of the most

affecting films you/re eer

likely to see*, a classic*, a

bold, inspired ision from one

who will surely be remembered asthe great director of our time*,

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11/33

22. INT. ROOM DAY

TA0$(- H&A+ 1 +AMO(

DAMON

Wheres the script? I cant do

this without a script.

(listening) Theres no script?

Just me talking about me?

(incredulous) Whats all this

about?!

23. INT. STUDIO DAY

The spaceship set is almost finished. inal dressing is

being put on. Michael is standing offside, getting camera

angles in his head. 'tephen walks up to him.

STEPHEN

Its coming together then.

Its looking good.

MICHAEL

Its coming together. Im

seeing it. Its going to be

good Stephen. I see a

classic. And all without

studio interference. And our

moneys fine, isnt it?

STEPHEN

(an unconvincing pause)

Yep.

(he nods sheepishly)


'tephen is finishing a phone call on a mobile.

STEPHEN

He wont agree to that. I

dont think Well, alright.

Ill see what I can do. Yes.

Thank you.

He hangs up and, after a beat, gies the phone back to

its owner, off3screen.

STEPHEN

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Thanks for that. Mines at the

mobile phone repairing place.

(to camera)

Just sorting out money for the

costumes.

(to the phones owner off-screen)

Oh, you dropped five doll-

He cuts himself short and furtiely stoops to pick up =>

off the floor. He secretiely puts in his pocket.

STEPHEN

Im eating today! / Lunch!

25. INT. STUDIO DAY

MICHAEL

Alright, Len isnt it when

youre ready, lets just go

through some shots.

LEN

Right you are.

0en has his back to Michael and the camera. He turns

around to reeal he is wearing a pirate3like eye3patch.He almost immediately careens into a large, obious piece

of the set.

MICHAEL

Jesus! Mind the set. Are you

alright there?

LEN

Yes, sir. Dont you worry

about me. Just have problems

with the old depth perception

from time to time.

0en indicates to the eye3patch.

26. INT. ROOM DAY

TA0$(- H&A+ 1 0&(

LEN

Funny story, actually. When I

was a kid I was playingpirates in my backyard and my

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friend stabbed me in the eye

with a wooden parrot. So now I

get to wear this eye patch and

look like a real pirate. So it

all worked out quite well in

the end.

DOCO MAKERS VOICE (OFFSCREEN)

And you are?

LEN

Im the cameraman.

27. INT. STUDIO DAY

Everyone is standing by. Damon is on set, in costume.Michael is sitting in a directors chair.

MICHAEL

Everybody set? Lets go for

action.

28. INT. STUDIO HALL DAY

'arah is standing off set, watching.

29. INT. SPACESHIP NIGHT

+amon is looking wistfully out the window into space. He

turns to an unseen companion.

DAMON

You dont understand. How

could you understand? I love

her. I know shell never love

me back, but god I love her.

You couldnt understand that.You dont have it in you to

understand. Do you even know

what love is?

9e reeal his companion to be a poorly constructed robot

with a ridiculous face.

ROBOT

Damn you, John, I know love as

well as you. I know the pain.

DAMON

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How could you? You robot.

ROBOT

I didnt choose to be what I

am. I didnt choose to feel

what I feel.

DAMON

Feel? You cant feel anything.

ROBOT

Cant I? Damn it, John. I love

her too!

+amon looks shocked and horrified.

30. INT. STUDIO DAY

Michael is watching the scene.

MICHAEL

And cut! Powerful. One more

time, with more power.

31. INT. STUDIO HALL DAY

'arah is watching the scene. 'he can/t beliee what hashappened to her script. 'he looks like she is almost

ready to gie up on the production completely.

32. INT. STUDIO DAY

+amon is sitting learning his lines with the robot prop.


'arah and Michael are embroiled in an intense discussion.

The camera sneaks up on them, trying to catch what they

are saying.

SARAH

more changes. So many

mistakes.

MICHAEL

I know what works. Ive won

awards, you know.

SARAH

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Youve won one award. A long

time ago. Stop making these

ridiculous changes. You are

ruin

'arah sees the camera. 'he waes it away, disengages fromthe conersation and walks away.

MICHAEL

(turning hesitantly to camera)

PMS, probably.

34. INT. ROOM DAY

TA0$(- H&A+ 1 M$!HA&0

MICHAEL

Its all about vision. I have

that vision. Painters. They

can use literally hundreds of

brushes to bring their vision

to life. Movies are the same.

In Brothers of Lust I once

used 12 cameras to shoot the

love scene.

(CONTD.)

MICHAEL (CONT.)

(acting out a conversation)

Im not happy with that take

Would you like another

camera, Michael?

Yes please

(he shakes his head)

35. INT. STUDIO DAY

Michael is standing on set, preparing to shoot a scene.

MICHAEL

Right. Lets get on with this.

+amon walks up wearing a cowboy outfit with a hat.

MICHAEL

Whats this? What are you

wearing?

DAMON

Do you mean in general?

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MICHAEL

What do you mean in general?

I mean specifically, what the

hell are you wearing?

DAMON

Oh, I thought you meant in

general.

MICHAEL

No.

There is pause. +amon seems to think the conersation is

oer. He is noticeably distracted by his own stupidity.

MICHAEL

What the hell are you wearing?

DAMON

Im wearing what they dressed

me in.

MICHAEL

Look at the set. Space! Dont

you people ever think?

DAMON

Speaking of thinking, Ive had

some ideas about the script.

MICHAEL

Ideas about my script?

DAMON

Thats right. Its good, but I

find it quite boring.

The two hae a moment. Michael is stunned and angry.

DAMON

See here Im supposed to just

walk onto the bridge of the

ship, but I was thinking why

not add a bit of pizzazz? I

could just as easily come in

riding a horse and, I dunnothrow my hat or something.

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MICHAEL

Throw your hat? - SPACE! What

part of space do you not

understand?

+amon decides to demonstrate his idea by stylishly

discarding his hat. Michael is unimpressed.

36. INT. CONTROL ROOM DAY

'tephen walks into the control room and eentually

decides to sit down at the ision mi;er, where someone is

busy working.

STEPHEN

Hows it going, then?

The ision mi;er turns around and is reealed to be 0en,

again.

LEN

Not bad, sir.

'tephen starts at seeing 0en. He recognises him as the

cameraman.

STEPHEN

Wh-? Werent you oh, dont

worry. Going well?

LEN

As I say, not bad, sir. Just

sorting out the clink on the

old system.

(he has very little idea what

he is doing, if any)

STEPHEN

Good, good.

(a pause)

(trying to appear interested)

Wow! That thing looks

complicated.

LEN

Oh, its really quite easy if

you just break it down. See,this line here is to cut

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between the cameras, and this

section is err

There is an awkward silence. 'tephen tries desperately to

fill it by pointing at another section.

STEPHEN

(even more forced enthusiasm)

Ooo! Whats all thats

exciting! Whats all this

about then?

LEN

Oh that? Thats the downstream

keyer.

STEPHEN

And what does that do?

LEN

(completely at a loss)

It um keys downstream?

(scratches his head)

The two sit there awkwardly for a while. It is

unbearable. Stephen finally gets up to leave.

STEPHEN

Right, well, keep at it. Good

job.

LEN

Yep.

37. INT. ROOM DAY

TA0$(- H&A+ 1 'TH&(

STEPHEN

Im a people person. I just

love working with people. Its

that interaction that makes

things so exciting. Its when

the problems come up, thats

when I really start to shine.

I do have this knack for

calming a situation, you know,

bringing everyone back down to

earth.

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4acting out a conersation5

'tephen $/m angry*, they say

?ou/re not angry, you/re

perturbed*

4he shrugs and smiles smugly5

38. INT. STUDIO DAY

Michael and 'tephen are talking. 0en is attempting to

work.

MICHAEL

(indicating to Len)

You see this. This is

essentially my entire crew.

What happened Stephen? I

cant even I cant shoot a

film like this. Now be honest

is it the money?

STEPHEN

(lying enthusiastically)

No. No. No no no no no.

Although Youre sure you

dont want the studio

Michael/s look says it all.

STEPHEN

Ill speak to Kazeer.


'tephen meets with a8eer again.

STEPHEN

Kazeer.

KAZEER

(correcting him)

Kazeer.

STEPHEN

Kazeer

KAZEER

(again correcting him)

Kazeer.

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STEPHEN

Kazeer.

KAZEER

(still not happy)

No, Kazeer.

STEPHEN

Kazeer.

(He instantly continues,

cutting Kazeer off from

correcting him again)

Kazeer, I I am a generous

man. So Ill tell you what

Ill do. If you invest a

little more money in our film,we would be happy to put some

of your chicken into the

outtakes. Do you know what

outtakes are, Kazeer?

KAZEER

No. You include Kazeer chicken

in picture movie. Lawyer say I

pay money, you put chicken in

movie. Actor eating the

delicious chicken.

STEPHEN

(keeping his cool)

Now, Kazeer, I dont think you

know what makes a good movie.

A movie with art! People will

like the movie more if your

chicken is not seen.

KAZEERKazeer not care. Kazeer

chicken in movie or Kazeer

leave with money. Chicken or

money. Chicken or money. You

do this thing.

STEPHEN

I dont think

KAZEER

You do this thing for Kazeer.

20


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40. INT. STUDIO DAY

'tephen and Michael are standing together on the side of

the set.

STEPHEN

Ill be honest Michael, there

is going to be a lot of

chicken in the film.

Michael looks at 'tephen disbelieingly.

STEPHEN

No big things obviously. Just,

you know, John carries around

a drumstick for some of the

time. A few chickens in the

background. The odd script

change here and there. Nothing

dramatic, you know, just

occasionally.

(from the script)

You could never understand my

love. I love her more than a

tasty bucket of Kazeers

chicken. Mmm, Kazeers Tastychicken! That sort of thing

Ill leave it with you.

'tephen beats a hasty retreat. Michael is furious.

41. INT. ROOM DAY

TA0$(- H&A+ 1 A7&&%

KAZEER

I always like err noise ofbeautiful woman who wears the

high heel shoe.

An e;tended, ine;plicable silence.


+amon is staring wistfully out in space. He turns around

to the robot. He is holding a chicken drumstick. The

robot has a small rotisserie set up in front of it with a

sign reading MMM) A7&&%/' 1 TA'T? !H$!&(2*.

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DAMON

Its so cold in space

ROBOT

Why not try some tasty chicken

to warm up?

DAMON

Is it Kazeers?

ROBOT

Is there any other?

DAMON

Damnit robot! I dont care how

tender and succulent thechicken is, it will never make

me forget the pain I feel for

loving her. Damnit, I love

her. It hurts so bad.

ROBOT

Dont speak ill of the

chicken, John.

DAMON

I know I shouldnt. Itswrong, but Ive gone mad! You

could never understand, youre

just a robot.

ROBOT

Damnit John, dont you talk to

me like I was sort of android.

I love her too.

DAMONIts hurts! God it hurts!

ROBOT

You dont know anything about

hurting. John, I need to ask

you something.

DAMON

What is it, Robot?

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ROBOT

Why do I cry?

43. INT. STUDIO DAY

9e come in mid3argument. 'arah is shouting at Michael.'tephen is standing to the side looking awkward.

SARAH

No explanation is good enough,

frankly, Michael. You have

thoroughly raped my script

with all your crap; your

product placement, your

ridiculous space ideas, with

the robots. Its It is aterrible, terrible film. I do

not want to be attached to it.

Im not going to be attached

to it. You know what you

want to say you wrote this

thing, Ill make it easy:

thats fine by me. Im taking

my name off it, I would not

want to be associated with the

shit that you are making of

it. And Im leaving right now,

Michael. Im done with this. I

am done with this.

'he walks away. 'he is more appalled by Michael/s

treatment of her than angry, een. 'he walks calmly. 'he

will neer come back.

44. EXT. WALL DAY

TA0$(- H&A+ 1 'A%AHSARAH

Frankly? He can go

(censored)

45. INT. ROOM DAY

TA0$(- H&A+ 1 M$!HA&0

MICHAEL

She said what? (beat) I could

put it where? (a beat) How

many times?

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46. INT. ROOM DAY

TA0$(- H&A+ 1 'TH&(

STEPHEN

There was some unpleasantness

involved with Sarah leaving

the project, yes. If anything,

though, it leaves Michael with

more of a free range to pursue

his vision.

47. INT. STUDIO DAY

Michael is looking under3the3weather. He is trying to

direct 0en/s camera moes. 0en is blindly pointing in all

the wrong directions.

48. INT. MAKE-UP ROOM DAY

+amon is sitting, reading +o Androids +ream of &lectric

'heep*.

49. INT. STUDIO DAY (CONT.)

0en is pointing the camera directly into a wall, in the

opposite direction to Michael. He gies him the thumbs

up. Michael looks lost.


Michael is talking with 'tephen about problems with the

crew.

MICHAEL

Look, Im sorry to go back to

this, but this crew isnt

working out, Stephen. Lets be

honest its basically just Lenthere. I mean is he even a

professional, at all?

STEPHEN

(defensively)

He is.

MICHAEL

A professional cameraman?

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STEPHEN

(a beat)

Well, hes a carpenter.

MICHAEL

God! Unbelievable.

STEPHEN

Its the money, Michael. Hes

the best we could afford. He

is a good carpenter actually.

He did that bit out the back

of my place.

MICHAEL

So, youre saying we donthave the money. I thought you

said we were fine.

STEPHEN

I know what I said. The truth

is were not fine. Thats the

truth. I dont want to let you

down, but without studio

backing, we just cant do

this.

There is a silence. Michael considers this grudgingly.

MICHAEL

Make the call.

51. INT. STUDIO DAY

Michael is fi;ing a bit of the set.

MICHAEL(to camera)

Obviously you heard us

talking. There are a few

hitches. We will have to bring

the studio in to back us, it

seems. Which is not a bad

(CONTD.)

MICHAEL

(CONT.)

thing. Id wanted to ensure

creative control, but it

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should be fine. I know theyll

see what were trying to make

here. Its good quality and

thats the important thing,

and theyll see that.

Two crew members walk past in the background.

CREW #1

Is this a comedy or something?

CREW #2

No idea. Who cares. You seen

any of the scenes? What a load

of shit.

CREW #1

(laughing) It is quite

possibly the worst thing Ive

ever worked on. And who the

hell does this director think

he is?

CREW #2

Supposedly he had some cult

hit, way back. Nothing but

this sort of crap since then.Just a hack. You know the

type.

Michael hears all of this. He stays fro8en, staring

directly at the camera. He is obiously hurt.

52. INT. CONTROL ROOM - DAY

Michael is sitting quietly. 'tephen comes up to Michael

with a cup of coffee.

MICHAEL

Oh, thanks.

He takes the coffee. He thinks for a moment.

MICHAEL

Stephen, why are you here?

STEPHEN

I was bringing you coffee.

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MICHAEL

No, not why are you here at

this instant, why are you here

at all? Why do you stay with

me? Why do you constantlystick by me?

STEPHEN

(laughing the emotion off)

Its half my luck to work with

a successful director like

you.

MICHAEL

No thats crap and you knowit. Successful? My last 3

films got panned. The critics

hate me. I keep trying, but

all I can do is keep making

shit like this. I know youve

always been there as a friend,

but as a businessman? I just

STEPHEN

Modesty. The artistic

temperament. We both know

youve done great work.

Awards. Acclaim.

MICHAEL

One award. For one film, 15

years ago. And not a scrap of

acclaim since then. And

rightly.

STEPHEN

Look, this is so your last 3

films werent as great. They

were made too commercial.

Thats not your fault. This is

your baby. And I know it will

be great. I can feel it.

The two have a moment.

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STEPHEN

And, look, Ive called

Paramount. Theyre coming down

to give us the money we need

to make this as great as Iknow it will be.

(laughing it off)

Come on, why else would I

stick by you, why else would I

try so hard, if I didnt think

I was on to a winner?

MICHAEL

(appreciative)

Yeah. You know I appreciateit.

STEPHEN

Its nothing. Ill be the one

making all the money off you.

(a forced laugh)

Michael leans forward and gives Stephen a hug to thank

him. Stephen flinches instinctively, then hugs Michael

back tenderly. We see his face over Michaels shoulder.

His face tells a different story to his words. He is very

much in love with Michael.

He holds the hug longer than he should. Michael pulls

away.

MICHAEL

Thanks.

Michael leaves.

Stephen stays sitting. He looks hollow.

STEPHEN

(quietly)

Its nothing.


Michael is sitting. He looks resigned.

'tephen enters with two 'T"$O &@&!"T$&'.

STEPHEN

Michael, these arerepresentatives from

28


29/33

Paramount. Theyll be

assessing progress today.

Michael coers his depression with a eil of self3

confidence. He shakes the e;ecuties/ hands.

54. INT. ROOM DAY

TA0$(- H&A+ 1 M$!HA&0

MICHAEL

(sombre)

So thats what its going to

be then. As long as everything

goes well. Which it will. Its

our only chance I suppose

55. INT. ROOM DAY

TA0$(- H&A+ 1 'TH&(

STEPHEN

Absolute confidence. He has my

absolute confidence. Always

has.

56. INT. STUDIO DAY

The crew are all working to set up for a scene.+amon wanders aimlessly oer to Michael.

DAMON

Hey, I was thinking,

(he points to the script)

what if

MICHAEL

No Damon. Go and stand on your

special mark. We are shootingthis now.

+amon goes and stands in the set.

MICHAEL

Were running out of time. Are

we all set?

The studio e;ecuties are standing by Michael, and'tephen is off to one side.

29


30/33

MICHAEL

Lets go to action when were

ready.


+amon is again staring wistfully out into space. He turns

to the %obot.

DAMON

Will the pain never stop? Does

it ever get any easier?

ROBOT

Damnit John, Im hurting too.

I loved her too. Cant you

realise that?

DAMON

The pain! The love! The Robot!

ROBOT

Im the robot.

DAMON

Robot.

ROBOT

Yes, damnit, John?

DAMON

(delivered as a Shakespearean

soliloquy)

Fly me to the moon,

Let me sing among those stars,

Let me see what spring is likeOn Jupiter or Mars

In other words, hold my hand

In other words, baby, kiss me!

'moke starts pouring into the set.

58. INT. STUDIO DAY

ilming the scene. A smoke machine has gone mad and is

pumping a ludicrous amount of smoke onto the set. +amon

continues his lines to the %obot. 0en gets confused in

30


31/33

all the smoke and runs his camera into the set, which

proceeds to fall completely to pieces.

DAMON

Fill my heart with song,

Let me sing forever more,You are all I long for

Robot!

You are all I worship and

adore

(he puts on the cowboy hat)

In other words, please be true

In other words, try some of

Kazeers chicken. Mmm, Kazeer

Tasty Chicken.

The noise of the set falling apart drowns out most of

+amon/s monologue, only quieting down for the last B

lines.

Then there is silence.

Michael is fro8en. 'tephen looks pleadingly at the

e;ecutie. They look at each other. Their decision is

made. They leae silently. Michael :ust sits there.

'tephen is heartbroken.

After a beat, +amon, who seems not to hae noticed the

disaster around him, throws his hat off with a flourish.

DAMON

See. It works.

!"T TO


32/33

CREDITS INTERCUT WITH TALKING HEADS:

59. INT. ROOM DAY

TA0$(- H&A+ 1 M$!HA&0

MICHAEL

Its finished, yes. No money.

Things dont always go as

planned, you know. Obviously

its hard to see something

youve worked on finish like

this, but

(awkward silence)

(reading from his folder of

reviews) As talented as any

of the greats, and he smells

fantastic what a man! His

future will be great.

60. INT. ROOM DAY

TA0$(- H&A+ 1 'TH&(

STEPHEN

Well be back. Hes a genius.

A visionary. And Ill be by

his side.

61. INT. ROOM DAY

TA0$(- H&A+ 1 0&(

LEN

(takes his eye-patch off)

See, now, this eyes fine.

This is fine. But this eye,

this eyes useless. Totally

useless, see.

(he pokes himself in the eye)

Ow! Oh, no, it was the other

one. Now its both.

32


33/33

62. INT. ROOM DAY

TA0$(- H&A+ 1 A7&&%

KAZEER

I say, dont talk to Kazeer

this way. Hes gives you

chicken, Mmm, tasty,

reasonable price. But no,

there is more (mimes whining).

So I punch. She was bad wife.

63. INT. ROOM DAY

TA0$(- H&A+ 1 'A%AH

SARAH

(laughing hysterically for

some time)So it completely failed?

(laughs)

Serves him right, the

talentless fucker.

64. INT. MICHAELS LIVING ROOM NIGHT

Michael is sitting along watching TV.

TV VOICEAnd in entertainment news,

documentary maker Alex Jones

has won the Academy Award for

best documentary, for his film

The Making Of, which went

behind the scenes of film

laughing stock Michael

Stromfields recent failed

film project. It has so far

made 270 million dollars

worldwide.

MICHAEL

That fucking cu

CUT TO BLACK.

33

the making of - script

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